Drawings Of Leonardo Da Vinci

DRAWINGS OF LEONARDO DA VINCI

DRAWINGS OF THE

GREAT MASTERS

DR/WINGS OF LEONARDO DA VINCI

LONDON.GEORGE NEWNES LIMITED SOUTHAMPTON STREET. STRANDw.c NfiW YORK.CHARLES SCRIBNEKS SONS

IMC.

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THK BALLANTYNE PKKSS TAVISTOCK

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LONDON

LIST OF ILLUSTRATIONS

PLATE

PROFILE OF A WARRIOR PORTRAIT OF ISABELLA D'ESTE .

.

Frontispiece

.

i

STUDY OF AN OLD MAN STUDY OF DRAPERIES FOR KNEELING FIGURES STUDY OF A BACCHUS HEAD OF A MAN BATTLE BETWEEN HORSEMEN AND MONSTERS WOMAN SEATED ON GROUND AND CHILD KNEELING STUDIES OF HEADS YOUTH ON HORSEBACK STUDIES FOR THE EQUESTRIAN STATUE OF FRANCESCO SFORZA }^THE VIRGIN, ST. ANNE AND INFANT STUDIES OF CHILDREN .

.

...

,

THE COMBAT

... ....

HEADS.

in iv

v vi

vn

vm ix

x xi xii

xm

STUDY FOR A MADONNA STUDIES FOR "THE HOLY FAMILY" STUDIES FOR "THE LAST SUPPER" COURTYARD OF A CANNON-FOUNDRY STUDY OF THE HEAD OF AN APOSTLE STUDY FOR BACKGROUND OF "THE ADORATION OF THE MAGI" STUDY OF LANDSCAPE STUDY OF A TREE

TWO

n

CARICATURES

JOHN THE BAPTIST THE HEAD OF CHRIST ST.

CARICATURES HEAD OF AN ANGEL STUDY OF A MAN'S HEAD

xiv

xv xvi

.

.

.

xvn

.

.

.

xvm xix

xx xxi

xxn

xxm xxiv

xxv xxvi

xxvn

LIST OF ILLUSTRATIONS

STUDIES OF HANDS

DRAGON FIGHTING

MAN KNEELING

....

WITH A .... .

LION

ST.

xxxn .

.

xxxni

WOMAN

xxxiv

.

xxxv

ANNE CARTOON

xxxvi

xxxvn

HEADS OF A WOMAN AND A CHILD

.

.

.

STUDY OF DRAPERY FOR A KNEELING FIGURE KNIGHT IN ARMOUR STUDY OF A YOUTHFUL HEAD STUDY FOR "LEDA" HEAD OF AN OLD MAN STUDY OF A HEAD STUDY OF THE HEAD OF ST. PHILIP FOR "THE LAST SUPPER" STUDY OF DRAPERY .

HEAD

STUDIES OF A SATYR

xxix

xxxi

STUDIES OF HORSES

GIRL'S

xxvm xxx

PORTRAIT STUDY STUDIES OF ANIMALS PORTRAIT OF LEONARDO, BY HIMSELF SIX HEADS OF MEN AND A BUST OF A STUDY OF A HEAD

THE

PLATE

xxxvm xxxix

XL XLI XLII XLIII

XLIV

XLV XLVI XLVII

WITH A LION

XLVIII

THE DRAWINGS OF LEONARDO DA VINCI BY

C.

LEWIS HIND EONARDO DA VINCI found

in drawing the readiest and most stimulating way of self-expression. The use of pen and crayon came to him as naturally as the monologue to an eager and egoistic talker.

The " outline designs in his " Treatise on Painting aid and amplify the text with a force that is almost unknown in modern illustrated books. Open the pages at random.

Here is a sketch showing " the greatest twist which a man can make in turning to look at himself behind.'* The accompanying text is hardly needed.

The drawing supplies all that Leonardo wished to convey.

Unlike Velasquez, whose authentic drawings are almost negligible, pen, pencil, silver-point, or chalk were rarely absent from Leonardo's hand, and although, in face of the Monna Lisa and The Virgin of the '^pcks and the St. Anne^ it is an exaggeration to say that he would have been quite as highly esteemed had none of his work except the drawings been preserved, it is in the drawings that we realise the extent of " that continent called Leonardo."

The inward-smiling women of the pictures, that have given Leonardo as painter a place apart in the painting hierarchy, appear again and And in the domain of sculpture, where again in the drawings.

Leonardo also triumphed, although nothing modelled by his hand now we read in Vasari of certain " heads of women

remains,

smiling."

" His

was never at rest," says Antonio Billi, his earliest " his mind was ever The restbiographer, devising new things." lessness of that profound and soaring mind is nowhere so evident as in the drawings and in the sketches that illustrate the manuscripts.

Nature, in lavishing so many gifts upon him, perhaps withheld concentration, although it might be argued that, like the bee, he did not leave a flower until all the honey or nourishment he needed was withdrawn.

He begins a drawing on a sheet of paper, his imagination darts and leaps, and the paper is soon covered with various spirit

7

THE DRAWINGS OF LEONARDO DA

VINCI

the margins of his manuscripts he jotted down " Codex Atlanticus " clauses of the ideas. pictorial we find an early sketch for his lost picture of Leda.

The world at large to-day reverences him as a painter, but to Leonardo painting was but a section of the full circle of life. the vision or to the brain of man Everything that offered food to In the letter that he wrote to the Duke of Milan appealed to him. in 1482, offering his services, he sets forth, in detail, his qualifications in engineering and military science, in constructing buildings, in with the conducting water from one place to another, beginning " I can construct and strong clause, bridges which are very light and very portable." Not until the end of this long letter does he mention the fine arts, contenting himself with the brief statement, " I can further execute sculpture in marble, bronze, or clay, designs.

Upon

Between the

also in painting I can

Astronomy,

do

as

much

as

any one

else,

whoever he be."

botany, he brought his undertakes to write upon

optics, physiology, geology,

Indeed, he who upon all.

He was military dazed by the range of his activities. with the construche occupied himself engineer to Caesar Borgia he proposed to raise the tion of hydraulic works in Lombardy he schemed to connect Baptistery of San Giovanni at Florence he experimented the Loire by an immense canal with the Saone with flying-machines ; and his early biographers testify to his skill as a musician.

Painting and modelling he regarded but as a moiety He spared no labour over a creation that absorbed of his genius.

Matteo Bandello, a member of the convent of Santa Maria him. della Grazie, gives the following account of his method when " He was wont, as I myself have engaged upon The Last Supper. often seen, to mount the scaffolding early in the morning and work until the approach of night, and in the interest of painting he forgot both meat and drink. There came two, three, or even four days when he did not stir a hand, but spent an hour or two in contemplaI have seen ting his work, examining and criticising the figures. at when the sun the stood in of him, too, noon, Leo, leave the sign Corte Vecchia (in the centre of the town), where he was engaged on his equestrian statue, and go straight to Santa Maria della Grazie, mount the scaffolding, seize a brush, add two or three touches to a single figure, and return forthwith."

Leonardo impressed his contemporaries and touched their imaginations, even as he captivates us to-day. Benvenuto Cellini describes King Francis as hanging upon Leonardo's words during the last " he did not believe that any other years of his life, and saying that

mind

to bear

Leonardo

is

;

;

;

;

o

THE DRAWINGS OF LEONARDO DA

VINCI

man had come

into the world who had attained so great a knowledge Leonardo."

Everybody knows Pater's luminously imaginative on Leonardo, and scientific criticism has said perhaps the last essay word upon his achievement in Mr. McCurdy's recent volume, and in Mr. Herbert P. Home's edition of Vasari's " Life."

As to the " The drawings, Mr. Bernhard Berenson, in his costly work on Drawings of the Florentine Masters," has included a catalogue raisonne, has scattered lovely reproductions through the pages, and In the placed his favourites on the pinnacle of his appreciation. realises their in the one with wealth of sketches text, manuscripts, the tremendous sweep of Leonardo's mental activity.

Some are still edition but the a Italian Government unpublished, complete promise " of the MSS. at an early date.

His " Treatise on Painting is easily " accessible in Dr. Richter's " Literary Works of Leonardo da Vinci " The that wonderful treatise which begins young student should, in the first place, acquire a knowledge of perspective, to enable him to give every object its proper dimensions after which, it is he that be under of an able the care master, to accustom requisite him, by degrees, to a good style of drawing the parts.

Next, he should study Nature, in order to confirm and fix in his mind the reason of those precepts which he has learnt.

He must also bestow some time in viewing the works of various old masters, to form his eye and judgment, in order that he may be able to put in practice all that he has been Chapter ccxxx. in the section on taught." " Colours " is entitled " How to paint a Picture that will Last Almost for Ever."

In view of the present condition of The Last Supper at Milan, fading from sight, Leonardo was wise to insert the word " almost."

He is constantly giving the reader surprises, and not the " least of them is the series of " Fables from his pen, included in Dr. Richter's edition of his literary works.

One authentic portrait of Leonardo by his own hand exists the red chalk drawing in the library at Turin.

Dating from the last of his of it shows the face a moulded life, seer, years by incessant as

:

:

The eyes lurk deep thought into firm, strongly marked lines. beneath shaggy brows, the hair and beard are long and straggling it is the face of a man who has peered into hidden things and who has pondered deeply over what he discerned. The beard is no longer " curled and well kept," in the words of a contemporary document, wherein he is described as " of a fine person, well proportioned, full of grace and of a beautiful aspect, wearing a rose-coloured tunic, short to the knee, although long garments were then in use."

Mr. Berenson has suggested that the youth in armour, who alone 9

THE DRAWINGS OF LEONARDO DA

VINCI

the figures in Leonardo's Adoration of the Magi in the Louvre turns away from the scene and looks towards the spectator, Botticelli reproduced his own is a portrait of Leonardo himself. his Adoration of the Magi. in features in a figure similarly placed The largest collection ot Leonardo da Vinci's drawings is in the are not accessible to the at Windsor Castle.

among

all

They

Royal Library

but under certain conditions they may be examined.

Other collections are in the Louvre, the British Museum, the Uffizi, the Royal Library at Turin, the Venice Academy, and in the portfolios of private collectors such as M. Bonnat of Paris, and Dr. Mond The drawings in the Print Room of the British of London.

Museum, which are easily available to students, include the remarkable Head of a Warrior in profile, from the Malcolm Collection, which is reproduced in this volume. This beautiful and minutely finished head and bust in silver-point belongs to Leonardo's early under the influence of his master, Verrocchio. period, when he was still between this arrogant warrior and the is a resemblance there Indeed, head of Verrocchio's statue of Colleoni at Venice ; it has been an effort of the suggested by Dr. Gronau that this profile represents in which he would have handled manner the show Verrocchio to pupil Be that as it may, this drawing is a striking example of the task. the hands of a master, the most profuse and detailed decorain how, The eye follows tion can be made subservient to the main theme. with delight the exquisite imaginative drawing in armour and helm.

public in general,

Nothing

is

insistent

curious detail leads

Every quaint and up to the firm contour of the face. Leonardo a whole, and the decorator's ingenuity has ;

nothing

is

superfluous.

saw the theme as It is War throughout remained subservient to the artist's vision.

The British quiescent, as Rodin's famous group is War militant.

Museum

of those grotesque heads, specimens of this volume, horrible faces of men and women grimacing and screeching at one another, with protruding In a lips and beak-like chins, looming from the discoloured paper. drawing at Milan there are two sketches of a combat, a man on horseback fighting a grotesque animal, that are startling in their There are also drawings of fearful power of arrested movement. wild-fowl, dragons, and the like, snarling at one another and making Critics have tried to explain the reason why frightful onslaught.

Leonardo gazed into these gulfs, but the explanation is probably nothing more than the fertility and fecundity of his imagination.

The grotesque and the terrible often have an attraction for gifted minds, forming a relief from the endless quest after beauty and the 10

which

also contains a sheet

are reproduced in

THE DRAWINGS OF LEONARDO DA

VINCI

Rossetti comphysical strain of living continually on the heights. verses that arc not included in his collected works. distinposed guished living writer has confessed that the byways of his leisure are brightened by the study of criminology. The late Arthur Strong, on the grotesques by Leonardo da Vinci at Chatsworth, commenting " His method was contributes this curious and interesting theory akin to the geometry of projection.

Just as the shadow of a circle

A

:

ellipse, so by projecting the lines of a human face of a certain marked type he was enabled to detect and exhibit, as in a shadow, the secret but most real kinship between the bete humaine and the is

an

In a sheet of dog, the ape, or the swine, as the case might be. at Windsor we see the same to the head of drawings process applied a lion until it quickens into a lower canine form."

The late librarian of Chatsworth also comments upon the copies and forgeries of drawings by Leonardo da Vinci that abound at The process of sifting the Chatsworth, as in other collections. ascribed to Leonardo be said to be complete. pictures John may William Brown, in the Appendix to his life of Leonardo, published in 1828, catalogues nearly fifty pictures from the hand of the master.

Mr. McCurdy, in his study of the records of Leonardo's life, has reduced that generous estimate to ten. There is still considerable disagreement about some of the drawings, but there are enough indubitably authentic, a bewildering variety indeed, for all practical purposes of study, and to proclaim the abounding genius of this flame-like Florentine, whose mind was a universe and who " painted " little but drew much with " that wonderful left hand." The fact that Leonardo was left-handed, with the result that the shading of his drawings usually runs from left to right, and not from right to left, should be evidence, as Morelli and others have pointed out, of

the authenticity of those drawings whose lines of direction run from left to But this test is far from perfect, as it is the first right. business of a forger to study mannerisms.

Many of the drawings bear comments in his handwriting, which also usually ran from right to left, the famous letter to the Duke of Milan being an exception. pen-drawing in the Uffizi has, in the lower part, a note from

A

which the beginning has been torn away. The words that remain are "... bre 1478 ichomiciai le 2 Vgine Marie," which may be interpreted, "October 1478, I began the two of the Virgin Mary." :

Most of the drawings and

are

made with

the pen, others are in chalk

Isabella d'Este of the

In the well-known silver-point. there are traces of pastel, and some of the sketches drawn on fine linen with a brush.

Louvre

of drapery are ii

THE DRAWINGS OF LEONARDO DA One of Leonardo's

earliest

VINCI

drawings,

if

not his

first

attempt,

is

the landscape dated 1473 in the Uffizi, done when he was twentyone years of age. It is signed, and these words are inscribed in the " The left-hand top corner day of S. Mary of the Snow, the fifth :

day of August, 1473."

Another drawing that can be assigned to a period is the sketch in pen and ink of a youth hanging from a rope with his hands This unfortunate was Bernardo Bandini, fastened behind his back. of Giuliano de Medici in 1479. murder the for who was hanged It is supposed that Leonardo was commissioned to paint a picture of the execution, and that he made the drawing of Bandini as a Leonardo was nothing if not conscientious. On preparatory study. the margin of the sketch, which is in the possession of M. Bonnat, " Small tan-coloured is this note describing Bandini's costume cap, black satin doublet, lined black jerkin, blue coat lined with fur of foxes' breasts, and the collar of the cloak covered with velvet speckled Bernardo di Bandino Baroncelli black hose." black and red As we turn over and examine the diversified drawings by Leonardo da Vinci, we are continually reminded of the passion that Pen and pencil bear witness that his draughtsmanship was to him. mind was never at rest. He drew for the love of it his hand raced to obey the thronging pictures that his brain conceived, and he drew, :

;

;

;

not necessarily as a preparatory stage for the making of a picture, but because draw he must.

Despite the hundreds of drawings that his remain as examples of industry, there are no studies extant for the Monna Lisa, although it has been suggested that the hands from the Windsor Collection reproduced in this volume were preparatory sketches for the marvellous hands of that third wife of a Florentine " the ends of the world are come." official upon whose head all Critics differ on this point, but there is no difference of opinion as to the beauty of

Monna

Lisa's hands.

Mr. McCurdy, "is perhaps the most

"

The

right

hand," says

perfect hand that was ever

painted."

Probably many of the sheets of drawings of children, women, cats, and lambs were for Madonna pictures that have been lost or He was never content with the stereotyped and condestroyed. ventional arrangement for a sacred picture, such as satisfied Francia.

He was ever curious, as well as a seeker after beauty, and life being his province, he loved to intrigue the human element into a Madonna and Child motive. The Child playing with the cat, hugging a lamb, learning his lessons at his mother's knee, numbers of them and large-hearted humanity. With him testify to Leonardo's direct 12

A

THE DRAWINGS OF LEONARDO DA

VINCI

the Child is always a child, acting like a child.

In a drawing in the British Museum he clutches a protesting cat in his chubby arms, while the mother smiles the eternal, personal smile of Leonardo that haunted him, as it fascinates us.

In another drawing the Child is a hand into a of porridge, and again the bowl dipping chubby Mother smiles the enigmatic, persisting smile of Leonardo. There are no fewer than twenty-seven drawings of animals on one sheet at Windsor. The majority are cats, but in some instance his imagination has invented a hybrid animal to which no name can be given.

In a drawing at Milan the Child is apparently receiving a lesson in is geometry one of Leonardo's special studies. entirely in and has no for wrapped up geometry, patience painting," writes a correspondent to Isabella d'Este in reply to a letter from her " Since he has been in Florence," asking what Leonardo was doing. continues the correspondent, " he has worked only on one cartoon.

This represents an infant Christ of about one year, who, freeing himself from his mother's arms, seizes a lamb, and seems to clasp it."

There is no record that these pictures of the Child with cat or lamb, or dropping his hand into a bowl of porridge, were ever

"He

but the drawings were seen by the young Raphael, who It is curious to turn from these inspiration from them. imagi-

finished

drew

;

native designs to the literal study of a tree, searched out as carefully as of a lemon-tree, but so much bolder and so Leighton's drawing much more confident in treatment ; or to that drawing that might

have been produced in an engineer's office, showing a number of nude figures lifting a heavy cylinder by lever-power, probably a design dating from the period when he held the post of military engineer to Cassar Borgia.

During his residence at Pavia, when, among other activities, he constructed the scenery for a kind of masque produced in honour of the marriage of Gian Galeazzo with Isabella of Aragon, and on another occasion arranged a tournament, he also designed an apparatus of pulleys and cords to convey the relic of the Sacred Nail to a different The position in the Cathedral. " sketch is inscribed, In the Cathedral for the pulley of the Nail of the Cross."

Moderns who

without first undergoing the drudgery of drawing for some years in the schools should ponder over Leonardo's studies of the nude, reading at the same time the chapters on "Proportion" in his "Treatise on Painting."

What wholehearted pre-occupation in his work the following extract shows It is entitled " Of in the on first in the Dark, studying waking Morning, and before going to Sleep." " I have experienced no small benefit, try to paint

!

THE DRAWINGS OF LEONARDO DA

VINCI

dark and in bed, by retracing in my mind the outlines of those forms which I had previously studied, particularly such as had appeared the most difficult to comprehend and retain by this method they will be confirmed and treasured upon the memory."

Flowers, trees, and wings he studied with the same fidelity and

when

in the

;

He was for ever prehe gave to hands and drapery. and developing his mind, paring and experimenting, for ever storing for ever increasing the cunning of his hands, as if life were endless.

His sixty-seven years of activity were all too short for this giant,

felicity that

excelled in every worthy pursuit of mortals except commerce A Florentine poet of the Quattrocento, who knew and politics.

Leonardo in his early manhood, described him as the man who "perhaps excels all others, yet cannot tear himself away from a one to completion." His picture, and in many years scarce brings can imagine mind was continually putting forth fresh shoots.

who

We

him, before beginning to paint the wings of the angel in his picture of TAe Annunciation in the Louvre, studying the ways of birds at rest and in flight, and considering the problem of the possibility of man

Such ideas never ever achieving the conquest of the air. fruition, but there is a passage in his writings, written in a

came

to

moment

of exaltation, when he had vision of man floating on pinions in the In ether, and himself as inventor and originator of the triumph. that moment of vision of a perfected Santos-Dumont, Leonardo wrote " He will fill the universe with wonder and all writings with his fame, and will give deathless renown to the nest which witnessed :

his birth."

Through

all

his dreams,

through

all

his scientific,

human, and

grotesque imaginings, he never ceased from the quest of beauty, that obsession of the true artist, which he expressed so often in the faces of his women, their hair and hands, in the looks of children, in the fall and fold of draperies, and in the figures of armed knights setting forth to tourney or to battle.

One

only has to recall the face of St. Louvre picture, the curling, plaited hair about the head of Leda in the Windsor drawing, the strange sexless charm of the smile of St. John the Baptist in the Louvre picture, Monna Lisa, " the " sceptical in The the and the head of Rocks, angel Virgin of St. Philip in the Windsor to be drawing, impressed again by the enigmatic beauty, always new, never palling, that Leonardo gave to the world.

In the cartoon of the Virgin and Child with St. Anne which hangs in the Diploma Gallery at Burlington House, one of the nation's greatest treasures, which so few Londoners ever visit, this country possesses a characteristic and unapproachable Leonardo.

Anne

in the

14

THE DRAWINGS OF LEONARDO DA It differs

VINCI

materially from the picture in the Louvre, the heads of the St. Anne being nearly on a level ; St. Anne is gazing at

Virgin and

the Virgin, not at the Child, her hand is upraised, the finger points But in upwards, and the Baptist is included in the composition. each the face of St. Anne has the Leonardo inward, extenuating smile, suggesting that attribute of aloofness of which the mediaeval schoolmen write. The upward-pointing hand of St. Anne is almost

with the motion of St. Thomas's hand in The Last Supper Milan, and with the hand of St. John in the Louvre. Comparing the Diploma Gallery cartoon with the finished picture in the Louvre, and with the sketch at the Venice Academy, we realise the years of labour that Leonardo gave to a picture before he would call it One of the drawings of drapery reproduced in this volume finished. is an exquisite study for the garment that enfolds the Virgin's limbs identical

at

in the

Louvre

The

series

picture.

of heads of

women

reproduced in these pages show

again his love of hair, either flowing or in plaits, or confined in strange and delicate head-dresses about the sweet, severe brows.

And always the eyes of his women are cast down, an attitude that

he rarely gives to his men, whose heads often have a touch of caricature, a hint, but never pushed to the extreme that he allowed himself in the grotesque.

In the bust of a woman in profile at Milan we have a sketch that in the unflattering presentment of a likeness is akin to his The remarkable drawing of Isabella d'Este, now in the Louvre. firm contour of the face, the thin nose and round, protruding chin, the long neck and ample bosom, betoken that on this occasion his But the drawing of eye, not his imagination, held the mastery. is larger in conception, and this grave and simple of a presentment distinguished lady of the Italian Renaissance is so informed with an assured power that it is justly hailed as one of Leonardo's finest efforts.

It was made at Mantua, and was designed to serve as the study for the portrait of the Marchioness which Leonardo never completed, if indeed he ever began it. Five years

Isabella d'Este

wrote to Leonardo reproaching him for his delay were and drew our portrait in chalk you But promised you would one day paint our picture in colours."

Leonardo was not, like Mantegna, ductile in the hands of the later Isabella d'Este

"

When you

:

in the country

He

There is to her blandishments. small a certain the gratified lady by painting work that she made petition for " a little picture of the Madonna full of faith and sweetness, to just as his nature would enable him Marchioness.

did not

succumb

no record that he ever

15

THE DRAWINGS OF LEONARDO DA

VINCI

Leonardo had pursuits more engrossing than the conceive her." making of a picture to please the vanity even of so great a lady as the Marchioness of Mantua.

The flame of Leonardo's imagination did not burn with the desire to provide little pictures of the Madonna full of faith and sweetness.

He

must do things in his own way, and that way would inspire him to produce such a drawing as the head of a young Bacchus with long, curling hair, clothed in a costume, just peeping from the sketch, of a similar material to the dress of Isabella d'Este ; or a kneeling Leda, such a drawing as we find at Chatsworth, showing how the artist gradually evolved the design for the final picture of

Leda y which was seen

in the collection

of King Francis

at

Fontaine-

Here, too, the eyes of the woman are downShe turns to the children who are breaking from the eggs, cast. while one of her arms clasps the swan.

The broken shells, and the children just scrambling into existence, are as characteristic of Leonardo's passion for the episodes of life as the Child playing with the cat, or dipping his fist into the bowl of porridge.

Leda is the bleau, but

is

now

lost.

The preparatory drawonly mythological picture that he painted. like the drawings for others of his lost or destroyed works, such ings, as the Sforza Statue^ andT~the Baftle~of tJie "Standard are numerous.

There is no mistaking the drawings for the Sforza statue, although it is not easy to decide which of the many designs of equestrian were for the Statue of Francesco Sforza, and which for the figures Trivulzio Monument.

One of the Windsor drawings shows no fewer than four sketches on one sheet for the group of horse and It would seem rider, which, we are told, was twenty-six feet high. that Leonardo's first intention was to make Francesco Sforza's charger trampling on a fallen enemy, but that he abandoned this tremendous conception for a quieter design.

It

is

clear

from contemporary

records that Leonardo spent sixteen years over the statue to-day no trace of it, except in the There is some doubt remains. drawings, as to whether it was ever successfully cast in bronze, which explains :

Michael Angelo's taunt that after Leonardo had finished the model he was unable to cast it.

Probably it was Leonardo's model that was destroyed, or at any rate severely damaged, when the French entered Milan in 1500. Fra Sabba da Castiglione wrote at the time: " I have to record and I cannot speak of it without grief and so noble and indignation masterly a work made a target by the Gascon bowmen."

In his writings Leonardo describes war as a " bestial frenzy," and in this

grand conception of a rearing horse trampling upon a warrior, 16

J

THE DRAWINGS OF LEONARDO DA who

VINCI

trying to protect himself with his shield, it was perhaps his intention to pillory the horror of war, while at the same time producing a heroic design. The splendid vigour of this group, and of the maddened figures in the Battle of Anghiari, stimulate us even in hear the shouts of barbaric warfare as we the slight sketches. is

We

their quiet resting-places in orderly portfolios. The " " bestial of war was never depicted with greater force than frenzy in Leonardo's studies for the last Cartoon for the Battle of Anghiari,

draw them from

at each other, and soldiers, filled with the lust of incoherent The heads of two men in a drawing scream cries. war, in the Buda-Pest Gallery, in the very act of slaying, mouths wide Leonardo open, breathing fury, are almost painful to look upon. abandoned this battle picture while still in the midst of the task, as " bestial But if disgusted with continuing to portray the frenzy." the horses in the battle pictures probably interested him.

There is a galloping horse in a drawing of Horsemen and Soldiers at Windsor that reveals a marvellous knowledge of the action of the horse at Indeed, the horse was one of Leonardo's favourite subhigh speed.

Vasari states that a book of such studies was destroyed when jects.

In the large and minute drawing that the French entered Milan. he made as a preparatory study for the background of his picture of The Adoration of the Magi, which was changed and curtailed so much in the final composition, there are horses, curvetting and Actuality prancing, and in the foreground a camel is seen reposing. is introduced in the persons of the retainers of the kings, busy with In their own affairs, amusing their leisure with a mock combat.

where horses gnash

the drawing in the Uffizi, of which we give a reproduction, the retainers are shown below the great double staircase engaged in a joust.

One wonders if Velasquez, who did not reach his usual standard of perfection when he drew a prancing steed, ever saw any of Leonardo's drawings of resolute and spirited horses.

Velasquez, when he painted the head of Christ in his Crucifixion at Madrid, veiled the face with the long hair as if he shrank from attempting to portray the sacred features, although nothing deterred

him from

painting the head boldly and freely in his Christ at the Column.

History tells of a similar meticulous modesty on the part of Leonardo in regard to the head of the central figure in his Last Supper, which he left unfinished, on the suggestion of Zenale, that could not surpass the majesty of certain of the Apostles' heads.

Several preliminary studies for The Last Supper exist, many of

which modern

criticism refuses to accept as authentic.

prominent in the eye of the world

is

The most

the pastel of the head of Christ '7

THE DRAWINGS OF LEONARDO DA

VINCI

Of

the beauty of the head, feminine in its softness and sadness, there cannot be two opinions, but it has not the sense of virility of the head in the Milan fresco, although the pose The of the drooping face and the downcast eyes are identical. authorities of the Brera Gallery at Milan assign the pastel head to in the

Brera at Milan.

" Leonardo, and Dr. Richter describes it as a genuine half-life size study in pencil for a head of Christ, which is in a deplorable state of pre" in its In Mr. McCurdy's opinion, the Brera pastel servation." present state is none of his, whatever its inception may have been, But whatever vicissitudes of and of that it is impossible to judge." have Brera the undergone, it remains a beaupastel may retouching heads at full-sized The tiful thing.

Weimar, bold and inspiriting drawings, of Judas and St. Peter, St. Thomas and St. James the Elder, St. Andrew, and St. Bartholomew are not by Leonardo.

There is no doubt about the authenticity of the heads of the Apostles in the Windsor Collection, or of the two preparatory sketches for the composition of The Last Supper also at Windsor, or of the drawing in red chalk at Venice, containing Leonardo's handwriting, in which the figure of St. John is shown grief-stricken, his body thrown forward upon the table, his face hidden at the mere idea of the awful words, " One of you shall betray me."

Leonardo's will, executed on April 23, 1519, in the chateau of He commends his soul to God, Cloux, near Amboise, is extant. orders the celebration of four high masses and thirty low masses, and wills his vineyard, without the walls of Milan, to Salai and Battista de Villanis.

In taking leave of this restless, richly endowed and rare we turn spirit, again to the last lines of Pater's essay, and with him

wonder how the great Florentine " experienced the last curiosity."

Then, perhaps, for the mind is always alert when thinking of

we

note in one of his manuscripts wherein he expresses his conviction that some day with the help of steam a boat may be set in motion, and another passage in his handwriting, perhaps really nearer to his real self than the order for those four high " When I and thirty low masses this thought I was learning to I was but to die." live, learning

Leonardo,

recall a

:

18

ILLUSTRATIONS

FRONTISPIECE

PKOb'ILE O?

A WARRIOR (BRITISH MUSEUM)

Photo, Autotype

Company

PLATE

PORTRAIT OF ISABELLA D'ESTE (LOUVRE)

I

PHOTO, BRAUN, CLEMENT

PLATE

STUDY OF AN OLD MAN (MILAN;

I

PHOTO, BRAUN, CLEMENT

PLATE

STUDY OF DRAPERIES FOR KNEELING FIGURES MUSEUM)

(BRITISH

III

PHOTO, AUTOTYPE COMPANY

PLATE IV

STUDY OP A BACCHUS (ACADEMY, VENIC

un, Clement

PLATE V

HEAD OF A MAN (LOUVRE)

PHOTO, BRAUN CLEMENT

BATTLE BETWEEN HORSEMEN AND MONSTERS (MILAN)

PHOTO, BRAUN, CLEMENT

PLATE

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VII

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WOMAN SEATED ON GROUND AND KNEELING (MILAN)

A CHILD

PHOTO, BRAUN, CLEMENT

PLATE

STUDIES OF HEADS (UFFIZI, FLORENCE)

VIII

PHOTO, BRAUN, CLEMLNT

PLATE

YOUTH ON HORSEBACK (WINDSOR)

IX

PHOTO, BRAUN, CLEMENT

PLATEJX

STUDIES FOR THE EQUESTRIAN STATUE OF FRANCESCO SFORZA (WINDSOR)

PHOTO, BRAUN, CLEMENT

PLATE

THE

VIRGIN, ST.

ANNE AND INFANT (LOUVRE)

XI

PHOTO, BRAUN, CLEMENT

PLATE

STUDIES OF CHILDREN (CHANTILLY)

XII

PHOTO, BRAUN, CLEMENT

PLATE

THE COMBAT (LOUVRE) n

XIII

PHOTO, BRAUN, CLEMENT

PLATE XIV

FO'R A MADONNA (UFFIZI, FLORENCE)

STUDY

PHOTO, BRAUN, CLEMENT

PLATE XV

STUDIES FOR "THE HOLY FAMILY (WINDSOR)

PHOTO, BRAUN, CLEMENT

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PLATE XVII

COURTYARD OF A CANNON-FOUNDRY (WINDSOR)

PHOTO, BRAUN, CLEMENT

Photo, Braun, Clement

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PLATE XXI

STUDY OF A TREE (WINDSOR)

PHOTO, BRAUN, CLEMENT

PLATE XXII

\

TWO

HEADS. CARICATURES (WINDSOR)

PHOTO, BRAUN, CLEMENT

PLATE

ST.

JOHN THE BAPTIST (WINDSOR)

XXIII

PHOTO, BRAUN, CLEMENT

PLATE XXV

J \

CARICATURES (WINDSOR)

PHOTO, BRAUN,

CLEMENT

PLATE XXVI

HEAD OF AN ANGEL

(TURIN)

PHOTO, ANDERSON

PLATE XXVII

STUDY OF A MAN'S HEAD (BRITISH MUSEUM)

PHOTO, BRAUN, CLEMENT

PLATE XXVIII

STUDIES OF HANDS (WINDSOR)

PHOTO, BRAUN, CLEMENT

w o z w OS O J fa

fa

H i

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H O ffi

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fa

55

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PLATE XXX

MAN KNEELING

(WINDSOR)

Photo, Braun, Clement

PLATE XXXI

PORTRAIT STUDY (MILAN)

PHOTO, BRAUN, CLEMENT

PLATE XXXII

STUDIES OF ANIMALS (WINDSOR)

PHOTO, BRAUN, CLEMENT

PLATE XXXIII

PORTRAIT OF LEONARDO, BY HIMSELF (TURIN)

PHOTO, ANDERSON

PLATE XXXIV

HEADS OF MEN AND A BUST OF A WOMAN CARICATURES (VENICE) SIX

PHOTO, BRAUN, CLEMEN'

PLATE XXXV

STUDY OF A HEAD

(UFFIZI,

FLORENCE)

PHOTO, BRAUN, CLEMENT

PLATE XXXVI

THE SAINT ANNE CARTOON (BURLINGTON HOUSE)

PHOTO, HOLLYER

PLATE XXXVII

STUDIES OF HORSES (WINDSOR)

PHOTO, BRAUN, CLEMENT

PLATE XXXVIII

HEADS OF A WOMAN AND A CHILD (CHATSWORTH)

PHOTO, BRAUN, CLEMENT

PLATE XXXIX

STUDY OF DRAPERY FOR A KNEELING FIGURE (WINDSOR)

PHOTO, BRAUN, CLEMENT

KNIGHT IN ARMOUR (MILAN)

Photo, Braun, Clement

PLATE XLI

MUSEUM) STUDY OF A YOUTHFUL HEAD (BRITISH

PHOTO, AUTOTYPE COMPANY

PLATE XLII

STUDY FOR "LEDA" (CHATSWORTH)

PHOTO, BRAUN, CLEMENT

PLATE

HEAD OF AN OLD MAN (WINDSOR)

XLIII

PHOTO, BRAUN, CLEMENT

PLATE XLIV

STUDY OF A HEAD (WINDSOR)

PHOTO, BRAUN, CLEMENT

PLATE XLV

STUDY OF THE HEAD OF ST. PHILIP FOR THE LAST SUPPER (WINDSOR)

PHOTO, BRAUN, CLEMENT

PLATE XLVI

STUDY OF DRAPERY (LOUVRE)

PHOTO, BRAUN, CLEMENT

PLATE XLVII

GIRL'S

HEAD

PHOTO, BRAUN, CLEMENT

(MILAN)

PLATE XLVI1I

STUDIES OF A SATYR WITH A LION (MILAN)

PHOTO, BFAUN, CLEMENT